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"Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp

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“MIXED TASTE,” COSMOPOLITANISM, AND INTERTEXTUALITY IN GEORG PHILIPP TELEMANN’S OPERA ORPHEUS Robert A. Rue A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2017 Committee: Arne Spohr, Advisor Mary Natvig Gregory Decker © 2017 Robert A. Rue All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Musicologists have been debating the concept of European national music styles in the Baroque period for nearly 300 years. But what precisely constitutes these so-called French, Italian, and German “tastes”? Furthermore, how do contemporary sources confront this issue and how do they delineate these musical constructs? In his Music for a Mixed Taste (2008), Steven Zohn achieves success in identifying musical tastes in some of Georg Phillip Telemann’s instrumental music. However, instrumental music comprises only a portion of Telemann’s musical output. My thesis follows Zohn’s work by identifying these same national styles in opera: namely, Telemann’s Orpheus (Hamburg, 1726), in which the composer sets French, Italian, and German texts to music. I argue that though identifying the interrelation between elements of musical style and the use of specific languages, we will have a better understanding of what Telemann and his contemporaries thought of as national tastes. I will begin my examination by identifying some of the issues surrounding a selection of contemporary treatises, in order explicate the problems and benefits of their use. These sources include Johann Joachim Quantz’s Versuch einer Anweisung die Flöte zu spielen (1752), two of Telemann’s autobiographies (1718 and 1740), and Johann Adolf Scheibe’s Critischer Musikus (1737). I will supplement the information provided by these writings with my own analysis in order to clarify their meanings. Next, I will examine a selection of Telemann’s other operas with the intention of showing how language can be used for dramatic purposes. Finally, I will conduct iv a thorough analysis of selections from Orpheus, drawing on conclusions made in the two previous chapters. By drawing on genre-based musical elements and aligning them with texted portions of this opera, Orpheus emerges as a key to national tastes in Baroque music. v ACKNOWLEDGEMENTS I must first of all thank the music faculty at BGSU with whom I have worked for giving me the tools to successfully complete this thesis. I owe a great deal to my thesis committee for making this such a challenging and rewarding experience: Thank you to Dr. Gregory Decker for preparing me for this thesis during the most demanding course of my graduate studies to date, without which I could not have approached this thesis topic; and to Dr. Mary Natvig for her unwavering support and an outstanding example as a musicologist. Very special thanks are given to my advisor, Dr. Arne Spohr, for believing in my thesis topic, providing timely advice when necessary, and for being able to hold me to such high standards with kindness and patience. The foundation of this thesis ultimately began over ten years ago. Thank you to Dr. Melanie Bookout for instilling in me your love of early music, exposing me to the fabulousness of Baroque opera, and encouraging me to pursue musicology. I truly can not imagine doing anything else. Most of all, must thank my family and friends for helping me get through the long process of my education. To name a few: Brianna Gamble, Shannon Schoville, Chris Adamisin, David Fidler, William Kenlon, Emily Riley, Frank Chu, Joana Simão, Nick Kiekenapp, Garrett Tanner, and Henrique Batista. Simply knowing that you are all there for me has helped me get through this. To my sister Desiree: Words fail to express my gratitude for all you have done and continue to do for me. I would not be here if not for you. vi TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION…………………………………………………………… 1 CHAPTER 2. TELEMANN’S COSMOPOLITAN LIFE: TOWARDS AN UNDERSTANDING OF HIS MIXED TASTE…………………………………………….. 5 Brief Bibliographical Outline………..……………………………………………… 5 Cosmopolitan Hamburg………..…………………………………………………… 7 CHAPTER 3. THE DEVELOPMENT OF TELEMANN’S MIXED TASTE: AN EXAMINATION OF WRITINGS…………………………………………………….. 10 Problems with Contemporary Writings on Style………………….……………….. 10 Italian Taste………………………………………………………………………… 13 French Taste………………………………………………………………………… 19 Polish Taste…………………………………………………………………………. 26 CHAPTER 4. THE USE OF LANGUAGE IN TELEMANN’S OPERAS………………… 32 Categorization of Telemann’s Operas by Use of Language…………….………..…. 34 Category A: Operas With a Single Language……………………………… 34 Category B: Operas With Two Languages……………....…………………. 3 6 Category C: Operas With Two Languages, Potentially as Alternate Texts… 38 Category D: Opera With Three Languages: Orpheus…….........................… 40 CHAPTER 5. DECONSTRUCTING AND RECONSTRUCTING THE MIXED TASTE IN ORPHEUS.……………………………………………………………………………… 46 French Taste………………………………………………………………………… 47 vii Italian Taste…….…………………………………………………………………… 59 Italian Galant……………………………………………………………….. 65 German Taste………………………………………………………………………. 69 German Galant…….……………………………………………………….. 69 German Mixed Taste……………………………………………………….. 71 CHAPTER 6. CONCLUSION…………………………………………………………….. 78 BIBLIOGRAPHY…………………………………………………………………………. 83 APPENDIX A: TRANSLATION OF SCHEIBE’S CRITISCHER MUSIKUS (1737), CHAPTER 15……………………………………………………………………………… 91 viii LIST OF MUSIC EXAMPLES Example Page 3.1 Vinci, Didone abbandonata, (Rome, 1726), “Trà lo splendor del trono,” (III, 7)………………………………………………………………………… 14 3.2 Vinci, “Trà lo splendor del trono,” mm. 7-9…………………………….…… 15 3.3 Vinci, “Trà lo splendor del trono,” mm. 23-27………………………….…… 15 3.4 Vinci, “Trà lo splendor del trono,” m. 28……………………………….…… 15 3.5 Vinci, “Trà lo splendor del trono,” mm. 31-33………………………………. 16 3.6 Vinci, “Trà lo splendor del trono,” m. 39……………………………………. 16 3.7 Giacomelli, Merope (Venice, 1734), “Quel l’usignolo,” excerpt………….… 18 3.8a Lully, J-B, Acis et Galitée (Paris, 1686), (I, 1), Prelude, mm. 1-2…………… 20 3.8b Vinci, Didone abbandonata, “Trà lo splendor del trono,” mm. 1-3……….… 20 3.9 D’Anglebert, Les pièces de clavecin, Book 1 (Paris, 1689), p. 6………….… 21 3.10a Lully, J-B, Bellérophon (Paris, 1679), “Ah! Prince” (IV, 5), mm. 57-60….… 23 3.10b Lully, J-B, Bellérophon, “Heureuse mort!” (IV, 6), mm. 13-16………….….. 23 3.11 Lully, J-B, Bellérophon, “Heureuse mort!” mm. 1-6………………….…….. 23 3.12 Lully, J-B, Bellérophon, “Espoir qui seduisez,” (I, 1), mm. 129-34………… 24 3.13 Telemann, “Sonata Polonese à 3” for violin, viola, and continuo, 42:a8, mm. 1-4………………………………………………………………. 28 4.1 Telemann, Pimpinone (Hamburg, 1725), “Ella mi vuol confondere/Wie sie mich ganz verwirren kann,” mm. 1-4……………………………………….. 38 ix 4.2a Text Comparison: Lully, J-B, Armide (Paris, 1696) “Esprits de haine & de rage,” (II, 2), mm. 41-127…………………………………………………… 43 4.2b Telemann, Orpheus (Hamburg, 1726), “Esprits de haine et de rage,” (III, 7).. 43 5.1 Lully/Lully/Du Boulay, Orphée (Paris, 1690), “Heureux mortel!” (II, 7), mm. 1-7……………………………………………………………………… 48 5.2 Telemann, Orpheus, “Heureux mortel!” (II, 5), mm. 1-4…………………… 49 5.3 Telemann, “Heureux mortel!” a (m. 3) and b (m. 56)……………………….. 50 5.4 Lully, J-B, Bellérophon, “Les forêts,” (IV, 4) a (mm. 7-9) and b (13-15)…… 51 5.5 Lully/Lully/Du Boulay, Orphée, “Heureux mortel!” mm. 1 and 21………… 51 5.6 Lully/Lully/Du Boulay, “Heureux mortel!” mm. 22-31…………………….. 52 5.7 Telemann, Orpheus, “Heureux mortel!” mm 1-10………………………….. 53 5.8 Telemann, Orpheus, “Heureux mortel!” a (m. 26), b (m. 29), and c (m. 53).. 54 5.9 Telemann, Orpheus, “Heureux mortel!” mm. 52-58…………………….….. 55 5.10a Telemann, Orpheus, “Heureux mortel!” mm. 1-3.…………………….……. 56 5.10b Lully/Lully/Du Boulay, Orphée, “Heureux mortel!” mm. 22-24…….…….. 56 5.11 Telemann, Orpheus, “Hélas, quels soupirs” (III, 8)…………………..…….. 58 5.12 Telemann, Orpheus, “Su, mio core, a la vendetta” (I, 1), mm. 1-10….……. 61 5.13 Sartorio, L’Adelaide, “Si, si mora Adalberto, mora, mora” (II, 9), excerpt… 62 5.14 Telemann, Orpheus, “Su, mio core,” mm. 8-11……………………….…… 63 5.15 Telemann, Orpheus, “Su, mio core,” mm. 20-24……………………….….. 63 5.16 Telemann, Orpheus, “Su, mio core,” m. 14………………………………… 63 5.17 Telemann, Orpheus, “Su, mio core,” mm. 16-17……………………….….. 64 x 5.18a Telemann, Orpheus libretto, “Su, mio core”………………………….……. 65 5.18b Sartorio/Dolfino, L’Adelaide libretto, “Sì sì mora Adalberto, mora mora”… 65 5.19 Telemann, Orpheus, “A l’incendo d’un occhio amoroso” (I, 8), mm. 1-9.… 66 5.20 Telemann, Orpheus, “A l’incendo d’un occhio amoroso,” mm. 25-27…….. 68 5.21 Telemann, Orpheus, “Angenehmer aufenthalt” (I, 2)………………………. 69 5.22 Telemann, Orpheus, “Angenehmer aufenthalt,” mm. 15-21……………….. 69 5.23 Telemann, Orpheus, “Angenehmer aufenthalt,” mm. 1-2………………….. 70 5.24 Telemann, Orpheus, “Angenehmer aufenthalt,” mm. 43-45……………….. 70 5.25 Telemann, Orpheus, “Einsamkeit is mein Vergnügen” (I, 2), mm. 1-15…… 72 5.26 Telemann, Orpheus, “Einsamkeit is mein Vergnügen,” mm. 18-22 and 27-28…………………………………………………………………… 72 5.27 Telemann, Orpheus, “Einsamkeit is mein Vergnügen,” mm. 57-81……….. 74 5.28 Telemann, Orpheus, “Lieben und nicht geliebet sein” (I, 1), mm. 1-3 and 5-6……………………………………………………………. 75 5.29 Telemann, Orpheus, “Ach Tod, ach süßer Tod” (I, 9), mm. 1-13………….. 76 5.30 Telemann, Orpheus, “Einsamkeit ist mein Vergnügen,” a (mm. 1-2), b (35-37), and c (66-70)……………………..……………………………… 77 xi LIST OF TABLES Table Page 4.1 Categorization of Telemann’s Existing Operas, by Use of Language………………… 35 4.2 Known Sources for Telemann’s Orpheus……………………..………………………
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